Sunday 27 March 2016, 8pm
Phil Minton / voice
Max Eastley / the Arc (an electro-accoustic monochord invented and developed by him)
David Toop / guitar, steel guitar and flutes
Roger Turner / drums and percussion
Max Eastley is a sound installation artist and musician. He has been an AHRC Senior Researcher at Oxford Brookes University investigating Aeolian phenomena, his last aeolian installation was for Ikon Gallery, Birmingham at Perrott’s Folly:
He is an artist with the Cape Farewell Climate Change Project (http://www.capefarewell.com) and has been City Sound Artist for Bonn, Germany and, for 2017, was a guest of the DAAD, Berlin. He is well known as an improvising musician and has played many solo concerts as well as in combinations with musicians such as David Toop, Evan Parker, Steve Beresford, John Butcher, Ute Wasserman, Phil Minton and Axel Dorner. He has worked extensively with music and performance including working with dancers and choreographers such as Anna Huber and the Siobhan Davies Company.
For a long time now Phil Minton has been working as a improvising singer, solo and in groups and situations at various locations all over the place, deserts, quarries, concert halls, pubs, holes, dodgy clubs, containers, up trees, in prisons, on mountains, in churches, under bridges and cafe oto etc.
Phil Minton comes from Torquay. He played trumpet and sang with the Mike Westbrook Band in the early 60s - Then in dance and rock bands in Europe for the later of part of the decade. He returned to England in 1971, rejoining Westbrook and was involved in many of his projects until the mid 1980′s.
For most of the last forty years, Minton has been working as an improvising singer in lots of groups, orchestras, and situations. Numerous composers have written music especially for his extended vocal techniques. He has a quartet with Veryan Weston, Roger Turner and John Butcher, and ongoing duos, trios and quartets with above and many other musicians, including tours with American singer Audrey Chen - with whom he has sang far and wide in the last ten years.
Since the eighties, His Feral Choir, where he voice-conducts workshops and concerts for anyone who wants to sing, has performed in over twenty countries.
David Toop (born 1949) has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This encompasses improvised music performance, writing, electronic sound, field recording, exhibition curating, sound art installations and opera. It includes seven acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016) and forthcoming - Flutter Echo, a memoir first published in Japan in 2017 (May 2019) and Inflamed Invisible: Writing On Art and Sound 1976-2018 (2020). Briefly a member of David Cunningham’s pop project The Flying Lizards in 1979, he has released thirteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016). In recent years his collaborations include Rie Nakajima, Akio Suzuki, Tania Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Thurston Moore, Ryuichi Sakamoto and a revived Alterations, the iconoclastic improvising quartet with Steve Beresford, Peter Cusack and Terry Day first formed in 1977. Curator of sound art exhibitions including Sonic Boom at the Hayward Gallery (2000), his opera – Star-shaped Biscuit – was performed as an Aldeburgh Faster Than Sound project in 2012. He is currently Professor of Audio Culture and Improvisation at London College of Communication.
Over decades Roger Turner has brought the renowned volcanic power and finely honed precision of his drum work to ensembles that have often forged real connections with musicians both sides of the Atlantic. In addition he has worked extensively in the microscopic laboratory of the acoustic duo situation where he acquired a highly developed sense of detail and of dynamic control. One of that select group of world-class players who have collectively redefined the language of contemporary percussion. In Turner's hands minute inflections of tension can shape the group's musical direction and galvanise a new level of audience experience.